John Travolta returned to Lenny’s Pizza in Bensonhurst, Brooklyn, on Tuesday, over 40 years after his Saturday Night Fever character Tony Manero made the establishment famous.

Dressed in a white suit jacket and black shirt that mimicked the iconic outfit he wore in the 1977 film, the actor was all smiles as he was honored by the borough in what was dubbed “John Travolta Day.”

Wife Kelly Preston was by his side at the event, dressed in a long-sleeve black patterned dress. The two danced to the Bee Gees’ music from the film’s best-selling soundtrack, and sampled slices from Lennys as they were cheered on by thousands of admirers gathered along 86th Street.

“It’s not often that we have an opportunity to recognize a great actor who helped turn Brooklyn into a cultural touchstone of the late 1970s,” New York State Senator Marty Golden told the crowd, in video captured by PIX-11. “John Travolta did exactly that.”

For his part, Travolta appeared to be overjoyed and humbled. “We love you. We love Brooklyn,” he told the crowd in the PIX-11 clip. “Thank you very, very much.”

“I’m so humbled, it’s amazing,” he added as police escorted him through the crowds, according to the outlet. “I never expected this big a turnout, it was awesome.”

Preston, 55, shared video and photos of the afternoon on Instagram.

“Having a total fangirl moment!!! ” she wrote. “Thank you Brooklyn for an insane day .”

RELATED VIDEO: John Travolta’s Changing Looks!

Saturday Night Fever followed the dual life of Travolta’s character; a star on the discotheque dance floor but a working-class man with a dead-end job and an unsupportive family back at home.

The film — which was directed by John Badham — popularized disco music across the world. A Sylvester Stallone-directed sequel, Staying Alive, was released in 1983.

Travolta is in the Big Apple to support his new movie, Gotti, in theaters on Friday.

The week also marks the 40th anniversary of another one of Travolta’s treasured films: Grease.

The Mr. Robot star, 36, plays the legendary singer in the film which saw director Bryan Singer fired and replaced by British helmer Dexter Fletcher (Eddie the Eagle) while in production.

The movie chronicles Queen from 1970, when Mercury teamed with Brian May and Roger Taylor, until the band’s performance at Live Aid in 1985, six years before the singer died of complications from AIDS.

“When I got this role, I thought, ‘Oh my God, this could be a career defining performance.’ And about two minutes later I thought this could be a career killer. You don’t get this right and it’s trouble.”

To become the iconic Mercury, the actor said he studied the late Queen frontman’s every move and tried to think like him and emulate him.

“I think the biggest task was how do I approach this insurmountable task,” he said. “What it was for me is just, as an actor, you look at the humanity of someone, the struggles that he overcame in his life, and throughout the film you’ll learn so much about him. What he does in his music is he gives everyone watching this ability to embrace all of their imperfections and still sing as loudly as they can.”

The movie, also starring Mike Myers and Aidan Gillen, opens November 2.

ZEN FASTER: Japan’s minimalist design and quiet grace – hardly what one expects from fast fashion. But that was the setting, and storyline, for H&M Studio’s see-now-buy-now spring 2018 collection, presented at Paris’ Musée des Arts Décoratifs on Wednesday night.
The real runway was the social media highway, though, with some 30 high-impact influencers invited to the show including Leaf Greener, Sira Kante and Olivia Lopez.
The museum’s nave had been transformed into a Japanese restaurant with guests sat at low zashiki tables set on tatami flooring, which also served as the runway.
But it wasn’t entirely zen. Guests scrambled to find the right size of tabi socks; a woman fell down one of the table pits and had to be yanked out.
Taking in the scene, with giant paper lanterns glowing overhead, Alek Wek was living the moment. “I can feel my feet touching the floor, the room is so beautiful. I can’t wait to sit down, because I love practicing yoga,” she said.
The guests eventually settled in to dine on sushi and sake. Actress Naomie Harris held court at a central table. “I’m feeling amazingly zen, I couldn’t be any more zen if I tried,” quipped the actress who is about to

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With an eye for sharp-edged abstraction and painterly self-awareness, artist Heimo Zobernig conjures the creative spirit of Pablo Picasso in the digital age. Working in painting, sculpture, video, architectural intervention, institutional critique, and performance, Zobernig explores the relationship between ideas and their artistic representation.

Heimo Zobernig, Untitled, Acrylic on canvas, 2013, courtesy of the artist and Petzel, New York

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Zobernig’s current exhibition at Petzel Gallery, his third solo show, riffs off a 2012 Picasso exhibition at the Kunsthaus Zurich. This source exhibit was itself a re-creation of a 1932 Picasso show at the same space. In an email to The Huffington Post, Zobernig explained his inspiration with Picasso’s “radical avant-gardism with which he precedes the conventions of developments in painting again and again.” With neon streaks and an underlying rigid geometry, Zobernig remodels and remixes Picasso’s iconically simple line and all the artistic freedom it embodies.

The show also features a series of mannequins donning tee shirts, tape and metal studs, creating a space where the human body and the geometric grid intersect. He recalled to Art Forum’s Karin Bellmann when, as an art student, Zobernig wanted a dummy for his showroom for no apparent reason and subsequently felt like there was a living presence in the room with him. “It occurred to me that objects could appear alive,” he said. “This is a moment where a sensation from the unconscious enters our consciousness. It really fascinated me, particularly because my approach to art usually is very sober.”

Zobernig’s exhibition combines theory, history and a dash of humor in a postmodern visual display which self-consciously reveals its modernist threads. When asked what modernism’s titan would think of the contemporary art world, Zobernig replied: “Picasso was always committed to the present and informed about the current happening. That would be the same today.”